Top 121 Quotes & Sayings by Edgar Wright
Explore popular quotes and sayings by an English director Edgar Wright.
Last updated on November 3, 2024.
Whenever I'm writing a script, I'm scoring myself by playing the right kind of music.
If you go back to your home town or you're reunited with school friends, its always slightly bittersweet because as much as there's nice things in terms of seeing them again, the town has changed without you, and you're no longer a part of it.
Sometimes, some things have to settle, and you have to think about the intention of it.
When you're doing a car chase movie, you're sitting in car waiting for places or grips or stuff for quite a while.
When I am not working, I try to watch more than one film a day if I can.
I use music to focus, like an internal motor.
I've always been fascinated by horror films and genre films. And horror films harbored a fascination for me and always have been something I've wanted to watch and wanted to make.
You get some directors, and I can never understand it - there's a thing they call the 'video village' where all the monitors are, and you've probably seen it on set visits - I hate that! I never, ever like sitting in video village. I get either my own monitor or a hand held monitor, and I stand right by the camera.
I think the premise of somebody trying to recreate a night from their teenage years stuck with me as something potentially very tragically comic.
By the time I got to Bournemouth Art College, I'd been so inspired by Sam Raimi and Robert Rodriguez and their tiny, no-budget films that I decided to do a feature-length version of 'Fistful Of Fingers.'
I found, after the experience of making 'Shaun Of The Dead' and then returning to the blank page - because 'Shaun Of The Dead' was the first screenplay I ever wrote properly - the experience of returning to the blank page and having nothing in the drawer was intensely painful.
Wes Anderson deserves an award for sheer persistence of vision.
What 'Shaun of the Dead' and 'Hot Fuzz' and 'World's End' do is smuggle a different movie under the guise of a zombie movie or a cop or alien invasion movie. Even though they all have action and carnage, they are really films about growing up and taking responsibility.
In a lot of action films, a lot of guys are driving muscle cars or vintage cars, whereas in reality, a lot of getaway drivers would actually choose, like, commuter cars and find a way to blend into freeway traffic as quickly as possible.
I'd like to do some things over again. I never want to repeat anything that went well, though - I just want to do better at slightly different things.
The first TV show I worked on was with the guys from 'Little Britian,' Matt Lucas and David Walliams, who did a show in 1995 I directed, 'Mash and Peas.'
I definitely went through a period when I was a teenager when every girl was 'The One' and every break-up was the 'Worst Thing That Had Ever Happened.'
Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
A lot of recent comic book adaptations have gone two ways: either they're striving for some kind of realism, like 'Iron Man' or 'The Dark Knight,' or they're very stylised and gritty, like 'Sin City' and '300.'
I like watching films that can play in any language because they're essentially silent.
I think, 'Scott Pilgrim,' it was something where the general audience didn't necessarily understand straight away what it was.
I just remember watching 'Brass Eye' and being so utterly blown away by the scope of it and how much it managed to cram into an episode.
Maybe directors who are more interested in realism and naturalism come from cities, where they see things on their doorstep every day. But growing up as a kid in a very pretty but ever-so-slightly boring town, where not a great deal happened, encouraged me to be more escapist, more imaginative, and more of a daydreamer.
Not everybody fantasizes about robbing a bank, but I think most people have that fantasy of being in a high speed chase.
Television was essentially my college.
I think it's good to have pressure on yourself. The worst crime is to get kind of really complacent.
When I was younger, I used to love Tim Burton's 'Batman.' I was, like, 15, and even then, I was aware, 'This is really the Joker's film.' It's like, the Joker just takes over, and Batman, you really don't learn too much about him.
The man-child in American comedies is always glorified; they never really show the darker side.
We need to make more original movies, and audiences would do well to support original movies for the future of the medium.
Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.
In 'Shaun of the Dead,' it's not Shaun's fault that there's a zombie apocalypse - he just has to get through the day.
The idea of fighting your new girlfriend's ex-lovers, 'Street Fighter' style, is the ultimate geek wish-fulfilment.
I tire of franchises, remakes, and endless sequels.
The making of documentaries for 'Humanoids From The Deep,' 'Galaxy Of Terror' and 'Forbidden World' are absolutely fascinating.
When I went to college, I discovered the Sega console, and 'Sonic the Hedgehog' became very dear to me.
There have been recorded cases of people learning how to fly a plane after playing a flight simulator, but there's never been a case of someone learning to fight by playing 'Tekken.'
I loved the idea of somebody literally fighting for love.
I used to stay up all night playing 'Resident Evil 2,' and it wouldn't stop until the sun came up. Then I'd walk outside at dawn's first light, looking at the empty streets of London, and it was like life imitating art. It felt like I'd stepped into an actual zombie apocalypse.
I guess a lot of comic-book adaptations strive for realism. Christopher Nolan is making Batman seem very real and very serious.
'Don't Look Now' is a masterpiece. I think it's the best-edited movie of all time. I adore it.
I think you write the film that you want to see, and you try and do it honestly, and you can't control people's responses, really.
Growing up, there were TV shows that were very funny but very traditional. Classic things like 'Fawlty Towers,' obviously, and 'Blackadder' were pretty traditionally shot. And then there were the ones that start to break the mold or be really ambitious. The ones that spring particularly to mind would be 'The Young Ones.'
There are plenty of movies that you need to chew on a bit. Movies that you return to and see something different in the second time around.
I am always watching old films and trying to fill gaps in my knowledge.
The sci-fi movies I grew up with, the metaphor was very rich, and they used to really mean something: David Cronenberg's films, or John Carpenter's films, or the Phil Kaufman and Don Segel versions of 'Invasion Of The Body Snatchers,' or George Romero's early zombie films.
I love horror, sci-fi and action, or I wouldn't make these kinds of movies, but those designations are Trojan horses to make these personal comedies.
Usually if I find a film that's challenging, that I'm intrigued by, I want to watch it again knowing what the ending is. I found that with something like 'The Godfather Part II.' I think it took me three watches to fully experience it in the way it was intended.
For 120 minutes, 'Birdman' floats from comedy to surrealism to high drama to quiet brilliance. I felt so inspired by watching this movie. It reaches for the sky and never comes back down to earth.
I know it's become an ongoing thing about whether videogames are art, and I think there's plenty of examples of things that use the form in a fascinating way. Things that are more surreal or artistic, like 'Katamari Damacy' or 'Vib-Ribbon.'
When I was at school, I used to end every school day with fountain pen ink all over my hands and face and down my shirt.
I think where the criticism of videogames come from is where videogames are just Xeroxes of films, and when you get a film adaptation of that game, you've just Xeroxed something twice. I think that's where a lot of the criticism comes from - there are ultra-violent games that are already based on a million films.
Car chases are as painstaking to make as they are fun to watch. They take a lot of time, and you have to keep the energy up.
If you're on a road trip, you need driving music.
My favorite film of all time is 'Raising Arizona.' I watched it again as soon as it was over. I had it on VHS, rented it, and I watched it and said, 'I want to watch that again, right now.' I think I did the same with something like 'Goodfellas,' which is a completely different genre.
It's funny: sometimes with 'Spaced,' people would try and read too much into something I'd done, with the references meaning something more than they do.
My parents used to talk about Sergio Leone films a lot. And I got really into them. I love Clint Eastwood. I love the camera angles. I love the music.
All of my films have been very dialogue-heavy, and that's great. It always makes it more of a challenge to market in other countries.
If you ever watch police chases on, like, helicopter cams, they very quickly become nightmarish when you start to see the police coming in from the edge of the frame. I always find that terrifying.
Tony Scott, Walter Hill, Michael Mann - I'm a big action fan, full stop. And even though Michael Mann is the more celebrated film-maker than Tony Scott, I love them both in different ways.
I would say 'American Werewolf in London' is like an unconventional buddy movie: even if the buddy dies 20 minutes in, he still remains throughout the picture, and their partnership is one of the best things in the movie.
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